What is sound writing in literature definition. sound recording

MINISTRY OF EDUCATION AND SCIENCE OF THE REPUBLIC OF KAZAKHSTAN

School-gymnasium No. 64 named after Zh. Aimauytov

Scientific work

Topic: Sound writing in verseA.A.Feta andF.I.Tyutchev

11th grade student

Dauletbay Bekarys; Supervisor: Kang K.T.

Introduction

I like poetry, I like not just to read poetry, but to read it, listen carefully, imagine vivid images created by the author. To do this, you need to be attentive to the poetic word, to its musicality, to the sound. I became interested in sound writing as an artistic technique. It helps to “hear” poetic lines, “see” artistic images created in poetry. Very little was said about it, we were only introduced to the technique, shown with examples and that's it. It became interesting to me what other types of sound writing exist, what poets turned to this technique and why. I wanted to find examples of sound writing in the famous works of art by Afanasy Fet and Fyodor Tyutchev (since we got acquainted with their work at a literature lesson) and trace what happens with this technique when translating the poems of these poets into Kazakh.

Sound recording was and is used by many poets and writers. What is sound recording? This term has several definitions.

The TSB says that “sound writing in versification: the same as a system of sound repetitions, especially selected with the expectation of onomatopoeia rustle, whistle, etc.

The poetic dictionary of A.P. Kvyatkovsky says that sound writing is a conditional term

for one of the types of verse instrumentation; the correspondence of the phonetic composition to the depicted picture or a consistently carried out system of alliterations, which emphasizes the figurative completeness of the poetic phrase. The reception of sound recording was known in ancient poetry, it is found in the folklore of all peoples.

The literary encyclopedic dictionary says that sound writing in versification is the same as the system of sound repetitions, especially those selected with the expectation of onomatopoeia rustle, whistle, etc.

Sound repetition is the main element of phonics (euphony). Among the sound repetitions are distinguished:

A) by the nature of the sounds- alliterations (repetitions of consonants) and assonances (repetitions of vowels)

B) by the number of sounds- double, triple, etc., simple and complex, complete and incomplete

C) by the location of sounds in the repetition

D) by the arrangement of repetitions in words, in verses, etc.. - anaphora, epiphora, joint, ring and their combinations.

Thus, we can represent poetic phonetics (the use of sound combinations in poetic speech) as follows:

Reception	Description	Example
sound recording	Repetition of similar sound combinations in artistic speech	This morning, this joy This power of both day and light, This blue vault, This scream and strings, These flocks, these birds, This dialect of waters ... (A. Fet)
Alliteration	Reception of sound expressiveness, which consists in the repetition of homogeneous, similar in sounding consonant sounds in a verse, stanza	I lovethunderstorm in the beginning of May , As if frolicking and playing, rumbles in the blue sky. Thundering peals young (F. Tyutchev)
Assonance	Repetition in a line, stanza, phrase of homogeneous vowel sounds, as well as inaccurate rhyme, in which only some, mainly vowel sounds, are consonant	There is in the lordship of autumn evenings (E) Touching, mysterious charm; Sinister shine and variegation of trees, (E) Crimson leaves languid, light rustle ... (F. Tyutchev)
Anaphora	Monotony, identical sound, rhythmic structures or phrases at the beginning of subsequent lines	I sun tertiary in ace - and everything was oh In the obsolete heart came to life; I sun remembered in belt of gold oh – And my heart felt so warm ... (F. Tyutchev)
Epiphora	The same sound, rhythmic structures or phrases at the end of subsequent lines	Through the azure duskeyes snowy alps yat; dead themeyes Icy horror times yat . (F. Tyutchev)

Other concepts of the word are also known Assonance:

Assonance - Incomplete rhyme based on the identity of stressed vowels when the consonants of the verse endings do not match.
assonance - An inexact rhyme in which only stressed vowels coincide.
assonance - Inaccurate, incomplete rhyme in versification.
assonance - The repetition of a vowel or group of consonants; imperfect rhyme.
assonance - The repetition of similar vowel sounds in a verse.
assonance - The repetition of homogeneous vowels in a line, stanza, phrase (in versification).
assonance - Consonance of vowel sounds.

Main part

Sound recording - one of the properties of expressive speech, a set of techniques that make it possible to make speech (in particular poetic) expressive. The high musicality of poetry implies a subtle penetration into the peculiarities of sounding speech, into its ability to impress not only with the meaning of words, but also with their sound, their music.

Great writers always achieve the musical sound of their works, striving to depict what they write about with the sounds themselves. They carefully choose words with repeated hissing, hissing, trembling, "thundering" sounds.

One of the most interesting poems of the 19th century from the side of linguistic analysis is the work of Afanasy Afanasyevich Fet “Whisper. Shy breathing ... ".

Whisper. timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

reflection of amber,

And kisses, and tears,

And dawn, dawn!.. (1850)

It allows you to find almost all the principles of poetic phonetics. It is studied not only in schools, but also in universities with a philological and linguistic bias. But, despite all its programming, this is not a soulless text, but a very subtle and lyrical work. All poetic tropes only help to make the poem heartfelt and sincere. It is difficult to single out one theme of the poem, most likely it is a combination of love lyrics and landscape sketches. At night, almost at dawn, two lovers entwined together and enjoy their feelings and the surrounding nature. At the same time, nature is depicted alive, it sympathizes and enjoys with people, reflects their feelings and experiences.

The silence explodes with the trill of a nightingale, but this noise is so harmonious that it does not affect the general welfare. Fet, without the help of verbs, created separate pictures that add up to an overall pictorial picture.

The poem is written in four-foot trochaic. There are three stanzas in total, each consisting of four lines. Rhyme cross. Many epithets: timid breathing, magical changes, smoky clouds. Avatar: sleepy stream. Metaphors: the ripple of the stream, the shadows without end.

The end of the poem is filled with special emotionality, there is a repetition of the union and an exclamation point. Many voiceless consonants are used by Fet to create a smoother, sing-song speech. All the sentences in the text are named, but this gives not just brevity, but makes the reader himself “think up” the actions inherent in the characters. The poem is very lyrical, you want to sing it, because it is about feelings. When you read it, it is as if you are transported to a village meadow at night, you inhale the aromas, you listen to the singing of the nightingale. I want to enjoy nature and not interfere with the lovers who are located here.

Fet is considered a true singer of nature, he masterfully describes not only landscapes, but also perfectly conveys the feelings of people. After all, each person is a particle of all life on Earth. Therefore, the author is trying to convey the main idea that love is one of the fundamental feelings on our planet. Everything must breathe it. People should not waste themselves on trifles, swear or argue, you just need to enjoy the surrounding nature and your feelings.

The poem is dedicated to Baroness Amalia Krudener, whom F.I. Tyutchev met when she was 14 years old. Struck by her beauty, he felt bewitched and in love. The impressions of this meeting formed the basis of the poem "I remember the golden time ..." The last meeting with Amalia Krüdener in 1870 evoked in the poet's soul not only bright memories of the past, but also the need to pour out his feelings in a new poem that was written "in one breath" July 26

As in his time A.S. Pushkin (let us remember his “I remember a wonderful moment ...”), F.I. Tyutchev chooses the form of addressing his beloved and dear friend, whom the author has not seen for a long time and meeting with whom awakens in him tender, bright, joyful feelings, the memory of the long gone "golden days" of his youth. All this creates a special confidence in the narrative, gives a calm, measured sound to the entire poem, which is supported by the rhythmic, sound, and figurative organization of the verse.

So, the poet uses an abundance of vowels in combination with the consonants "l", "n", "r". The iambic tetrameter with numerous pyrrhics, which brings the poem closer to prose speech, the traditional four-line rhymes, the exact rhyme characteristic of classical Russian poetry - all this makes the poem simple and clear in form.

Motifs of tender and joyful memory grow out of persistent inversions: " how late autumn sometimes","when it suddenly blows in the spring", "with a long-forgotten rapture I look at the cute traits", "I remembered the golden time"- which enhance the figurative expressiveness of the most significant words.

With the help of repetitions in the final stanza, the emotionality of the poem is enhanced, the feeling of joy from meeting with a long-familiar friend. It is to this woman that he turns in his memory, with her he connects the most wonderful time in his youth. Therefore, epithets play an important role in the poem. ("golden time", "obsolete heart") and hyperbole ("secular separation"), which help to feel the mood of inner elation, joy, pleasant excitement from meeting with a loved one. This mood is also conveyed with the help of a metaphorical comparison of awakened feelings with a spring breath in the middle of late autumn (2-3 stanzas).

Like late autumn sometimes

There are days, there are hours

When it suddenly blows in the spring

And something stirs in us, -

So the whole is covered with a breath

Those years of spiritual fullness,

With a long forgotten rapture

I look at the cute features ...

The third stanza ends with the semantic focus of the poem: " With long forgotten I look in rapture at the cute features ... " This key phrase helps to understand the artistic idea of the poem: the significance of a new meeting, which awakened former feelings in a person, reminded of the "golden" time of youth and love.

Diamonds in the sky

Diamonds on the trees

Diamonds in the snow

Association - silence, night light

How quietly blows over the valley

Distant bell ringing

Like the rustle of a flock of cranes, -

And in the noise of the leaves he froze.

Association-

Ringing noise of leaves

Do you hear the noise of the angular herd above?

With a cry, cranes fly through the house to the warm fields,

Yellow leaves rustle, a tit whistles in a birch tree,

You say that again we will wait for a warm spring ...

Association-

the arrival of autumn - autumn vanity in nature and longing in the soul

Like the spring sea in flood,

Brighter, the day does not sway, -

And hurry, be silent

A shadow falls across the valley.

Association-

Sea - shadow

Ringing - shadow - evening

Russian lyrics found in Fet one of the most musically gifted masters. Fet wrote: “Poetry and music are not only related, but inseparable. All the age-old poetic works - from the prophets to Goethe and Pushkin inclusive - in essence, musical works are songs ... harmony is also the truth ... I was always drawn from a certain area of \u200b\u200bwords into an indefinite area of \u200b\u200bmusic, into which I went, as far as my strength was.” 1

Tchaikovsky wrote about Fet: “I consider him an absolutely brilliant poet... Fet, in his best moments, goes beyond the limits indicated by poetry, and boldly takes a step into our field. Therefore, Fet often reminds me of Beethoven. 2

The lyrics of A. A. Fet, written on paper in letters, sound like notes, however, for those who can read these notes. And the composer sees in Fetov's lines a wonderful canvas into which it is so interesting to weave melodic threads. Tchaikovsky and Taneyev, Rimsky-Korsakov and Grechanikov, Balakirev and Rachmaninov, Napravnik and Kalinnikov and many others composed music to the words of A. A. Fet. But Fet's poems sound like songs and romances even before the musician touches them. A variety of rhythms and sounds, precise rhymes and sound writing make his poetry sound.

Therefore, many hear in Fet mainly the melody of his poems, melody, sounds. Others emphasize the picturesque beginning, the desire to convey colors, lines, forms of the outside world in words. The charm of A. A. Fet lies precisely in the fact that his painting is dissolved in music, and the melodic principle is plastically embodied in visual images. Poetry

A. A. Feta is both picturesque and musical at the same time. Like a true poet, he endows his word with musical sounds, colors, and plastic forms. The pictures of nature, drawn by Fet in verse, play with all colors, and the verses themselves sound like a well-tuned instrument in the hands of a master.

The ear and eye of A. A. Fet are equally sensitive, and their action is synchronous:

The last ray went out behind the mountain ... 3

The poet equally hears the last sound and sees the last ray. No, I will say more precisely, closer to the perception of A. A. Fet: he sees the last sound and hears the last ray.

I stood still for a long time

Looking into the distant stars,

Between those stars and me

Some connection was born.

I thought…I don't remember what I thought;

I listened to the mysterious choir

And the stars trembled softly

And I love the stars since then ... 4

In my opinion, "a connection was born" and established not only between the stars and the poet, but also between the twinkling and the sound of heavenly bodies. "The stars were trembling" - in this combination there is both an image and sound. It is created by the use of soundsZ and Dr.combination of soundsDR and AND helps the reader not only to hear, but also to feel the quiet trembling of the stars. SoundZ, repeated throughout the poem eight times, gives the impression of ringing. Therefore, the poet hears the "mysterious choir."

The very sound of the word becomes in Fet an image:the stars are ringing - the ringing of gold is heard - it means that the stars are golden.( Light ringing of gold gives birth to sounds h in, zd, zvn)

in the steppe ch ears, over ow agoy m about l frolic,

Where is kru chsheets spread out,

I love for a long time pl sheep poo ch willow,

On bright pl effervescent flowers… 5

Sound combinationsch, vl, m-l, ch I drawt here is a picture of a pond, they give rise to a feeling of moisture, freshness, create a contrasting image - steppe-water.

The word A. A. Fet knows its meaning and its sound. The poet does not go beyond the limits of the word, does not change its living structure for the sake of the melody, he uses the qualities inherent in the word, finds new possibilities and combinations in it. In his lyrics, full harmony triumphs.

And under the pitted bark / oh oh oh oh

You are full of youthful strength ... 6 / oh oh oh

Quiet evening burns, / oro

Mountains of gold; / olo

Sultry air gets cold - / olo

Sleep my child... 7

It sounded over the clear river, / oh,

Rang out in the faded meadow,

It swept over the mute grove, / oyu

Lit on the other side... 8 / here

"The verse is thick as pitch" 9 - these words of N. V. Gogol about Pushkin's verse can rightfully be attributed to A. A. Fet.

FROM mo t ri, to ra With avi c a, - on ma t ovom f ar f ore

Ruddy roux ssk uy P lod/ tand southern grapes /t.

How bright is the apple on the leafy pattern!

Like moisture berries burn in the sun! ..

The poet paints this picture with slow, viscous, thick strokes. A huge number of deaf consonants in each stanza slows down speech, makes it viscous, like a thick stream of golden ripe honey.

Density is achieved by internal, viscous, sound instrumentation. With a strong pressure of feelings, the gateways of language, "sound" gateways open.

(On) d t (en) yu (s) l (hell) of the (after) lud (en) (garden)

In broadleaf (veno) m (vein) ke from (wine) hail ...

If you write down these verses as they sound, then amazing patterns will be revealed:

Po en s-hell po en garden

Veno vein wine.

Or here is the line:

Oh (okay) she is looking for (la d) u (but) venya.

If you write it down as it is heard, you get:

OK OK. 10

Similar repetitions, musical, sound "moves" are full of poems

A. A. Feta. This is the inner mechanics of his poetry. Each of them has its own melody, its own rhythmic pattern, not repeated in the other.

Siya (la but) ch. (Luno) th was in the (bosom) garden. lay

(Lu) chi visit our (but) g (but) th without lights. 11

Let's write these lines as they sound:

La but moonlight

Lu but but

And here is another line:

In for (li) ve dream (lyu) t ship (li) 12

By writing down this line as it sounds, we can hear the lulling splash of the waves:

The waves seem to sing: "Luli lyuli cradles."

In a poem

Alien o (vowels),

I hear speeches (weasels),

I see these (eyes,)

I feel hearts (other) fire ...

In three lines gentle caresses sound, and in the last trembling is heard, which is created by soundsR and DR .

Mikhail Svetlov said: "Every poet dreams of writing a poem that I would like to read in a whisper." 13 A. A. Fet has dozens, if not hundreds, of such poems. His whisper has an amplitude: from pianissimo, reminiscent of a barely perceptible rustle, to murmur and hum. Let's compare two poems in which muffled sounds are repeated many times. Late summer in the bedroom window

Quietly whisper even sad leaf,

Shep even not a word ... 14

Your luxurious wreath is fresh and soulful,

The cat sings, squinting his eyes,

The boy is napping on the carpet

A storm is playing outside

The wind whistles in the yard ... 16

in the first two lines there is a soft purr created by a soft consonantR , (ri - rya - re - re), but in the third line in a softR , woven solidgr, and the reader feels the tension created by the storm, and in the fourth soundsst,schallow you to hear the whistle of the wind.

In a poem

I'm shocked when around

Forests hum, thunder rumbles ... 17

Fet with the help of alliteration conveys soundsr, g, grthunder rumble. (Alliteration (lat. Allitatio, from lat. a d to + littera - letter) - a repetition of consonants that are identical or similar in sound, enhancing the sound expressiveness of artistic speech).

Let's compare several poems in which one can observe the reception of alliteration. Many sounds repeated in two poems denote different phenomena.

How sweetly the worker is confused,

All dreams for hearing the call of a single!

How he smiled 3 dream

Under the bright whistle of a nightingale! .. 18

Here the reader hears the whistle of a bird, and in the poem "Autumn Rose", where the sound is also repeated With , there is an impression of some kind of dryness and shedding.

Oh poured le from its peaks,

The garden bared its face... 19

In the poem "Chandra":

Do not growl, my cat-mu rlyka, ... 20

The sound r helps the reader to hear the soothing, lulling purr of the cat, and in the poem

All night long the neighboring rag roared,

Brook, burlya, ran to the stream,

Wax of the rising waters is the last

He announced his victory... 21
The sound r conveys the roar of the stream, which, on the contrary, wakes the reader, makes him start and, perhaps, shudder.

But in the poem "A Storm in the Evening Sky ..." a feeling of tension and some kind of anxiety is conveyed not only by alliteration, but also by assonance.

(French assonance assonance - consonance, from Latin assono - I respond) - repetition of vowel sounds, most often percussion)

B at we will rise in the sky in the evening,

The sea is gray at m -

B at rya on the sea and d at we,

many m at nouns at m -

B at rya on the sea and d at we,

Ho r increasing d at m -

Black t at hour per ton at whose,

The angry sea at m. 22

The sound r in this poem conveys the roar of the seething sea; the sound y is the howl of the wind. This howl of the wind creates a feeling of tension.

We can find assonance in a poem

The spruce tree hung the path for me.

Wind. In the forest at one

Clever and wacky, and sadly and cheerfully, -

I do not understand anything.

Wind. Around om everything goes and sways,

The leaves of the circle shrink at the foot.

Choo, it's far away obviously heard

Thin horn… 23 ,

Sound at , repeated thirteen times here, conveys the howl of the wind, which is amplified by the sounds s, oh . It turns out that the wind howls "u-o-y-y-y-y-o".

“People’s words are so rude, it’s even ashamed to whisper them” 24 . - recognized

A. A. Fet. He says: "I'm looking for a sound with my soul, what lives in my soul" 25 And the poet does not so much write about nightingale singing, about the ripple of a stream, night chiaroscuro, morning dawn, as he speaks to the reader with nightingale singing, ripple of a stream, night chiaroscuro, morning dawn. Here we meet onomatopoeia - one of the types of sound writing in poetic speech: the use of words whose sound resembles the sound features characteristic of the phenomena depicted.

In the poem "I'm waiting ... Nightingale echo ..." the roulades and overflows of nightingale singing are reflected, with which the poet speaks to the reader:

I'm waiting... Nightingale echo

Do not descend (tsa) from the shining river,

Grass under the moon in diamonds,

On the cumin, the light of the laki is burning ... 26

Here it is, the song of the nightingale: tsa-s-st tr-pr-brilli ra-la.

In the poem “Quails are screaming, corncrakes are crackling ...” trills, whistling and crackling of birds are heard:

The quails are screaming, the corncrakes are chirping,

Night butterflies soared

And late nightingales over river away

Jerky trills sound... 27

Combinations of sounds kr, p-r, tr, u, k-r convey the crackling of corncrakes, and in the third and fourth lines the sounds l, p-r, st, tr, l help to hear the whistling and clicking of the nightingale.

In the poem "Cuckoo"

curvy bend ma kushki,

Mleya in the spring ku;

Somewhere far away at the ears

It would be heard: ku-ku ... 28

Fet does not just talk about the cuckoo, he conveys its cuckoo: ku-ku-oo-ku-ku.

In the poem "Fragrant night, blessed night ..." one can observe how sounds help to create, or rather, create a picture of the night, help to hear the silence, the splash of the stream, the whisper of the jets. No wonder the poet says that the silence of this night is “speaking”:

The key sparkles and splashes (tsa) ...

The jets whisper softly…

Like timid strings the guitar rumbles…

As if everything is burning and ringing at the same time

As if trembling slightly, the window pops up... 29

Sounds pl, u, c, cltransmit the splash of waves; soundss, w, h, st- whisper of jets; soundsR- string picking;zv, zcreate ringing; and the soundsdr, r give rise to tremors.

The images of nature drawn by A. A. Fet are fascinating. They are flawless. And this happens because to create these poetic images, the author found not only heartfelt words, but also enchanting sounds. He is "winged words sound grabs on the fly and suddenly fixes both the dark delirium of the soul and the indistinct smell of herbs. 30 , and the beauty of a starry night, and the singing of birds, and thunderclaps, and many more pictures and natural phenomena that excite our mind, imagination and feelings. Sound writing in A. A. Fet's poetry helps to affirm the beauty of every moment of life, the uniqueness of being. Behind this we see the image of a lyricist in love with the miracle of life and beauty.

In Kazakh poetry, I also noticed sound recording.
For example, Shangerey Bokeev
Agasyn, akylyn artyk askarmen ten, assonance [a, s]

Asyldyn arkkar ұrandy tireuі sen.

Ala tu Abylaidyn ala attansan, alliteration [ғ, қ, r, l, m, f]

Alaman artyndagy bireui men.

Adamnyn amanatyn alla alada, rhyme

Azhalga akyl, Azhar not kylady?

Alaby alys soular sualganda,

Angaryn aydin köldin shan alada.

Alayda ansyragan algyr tuygyn

Abaisyz ankyp auga shyrmalady.

Kasym Amanzholov's "Zhyr zhazamyn zhuregimnen"
Senin nurly zhuzinnen assonance [і, e, ұ-ү,ө]

Korem baқyt өmirdі.

Senің әrbіr sөzіңnen alliteration [ң, m, r, k]

Kuy estiler kөңіldi.

Sol sebepti men sagan

Ғashyқtayyn құmartam, rhyme

Zhuregimnen, zhanymnan

Zhyr zhazamyn, aitam cheese.

Kundey shalkyp kule ber,

Ak mandayly, alma zhuz.

Sagan, sirә, ten keler

Zher zhananda bar ma kyz?

An example from the poetry of Akan Sera Koramsakula

"Karatorgay"

Keledi karatorgay kanat kagyp, - assonance [a, s, i]

Astyna kanatynyn marzhan tagyp.

Birge өsken kіshkentaidan saulem edіn,

Aiyryldym kapylysta senen neggyp.

Karatorgai, alliteration [k-қ, n-ң, t]

Ushtyn zorga-ai.

Beishara, shyryldaisyn

Jerge konbay.

Ertistin ar zhagynda bir teren sai,

Suyretken zhibek arkan tel konyr tai.

Agashtyn butagyna konyp alyp,

Savyraidy tan aldynda karatorgay.

We decided to follow the sound writing of A. Fet and F. Tyutchev in translations into the Kazakh language.

Russian	Kazakh
This morning, this joy This power of both day and light, This blue vault This cry and strings These flocks, these birds, This voice of the waters These willows and birches These drops are these tears This fluff is not a leaf, These mountains, these valleys, These midges, these bees, This tongue and whistle These dawns without eclipse, This sigh of the night village, This night without sleep This haze and the heat of the bed, This fraction and these trills, It's all spring.	Bul tan, bul baqyt Bul kunnin men zharyktyn kuaty. Bul kok aspan Bul aiqai men ---------- Bul uyir, bul құstardyn letі. Bul sudyn sybyrlauy Bul mal men kayyn Bul tamshy - Bul zhas Bul tүbit - zhapyrқ emes. Bul taular, bul ken dala Bul shirkey, bul aralar Bul dybys men yzyn Bul karangysyz tan Bul tungі auyldyn kursіnuі Bul uykysyz tun Bul munar, tөsektin ystygy Bul ------ Men Bul ---- Bұl bәrі - koktem. / alliteration and assonance preserved /
Human tears, oh human tears, You pour early and late sometimes ... Flow unknown, flow invisible, Inexhaustible, innumerable, - Pour like rain streams pour In autumn deaf sometimes night.	Adamny koz zhasy, oh adamny koz zhasy, Erte men kesh mezgіlde togіlesnіn. Tynysh kuzde, karangy kezinde belgіsіz, korіnbeitіn, sarқylmaityn sarқylmas, sansyz togilesin. (assonance /e, i, s/)
I remember the golden time I remember a dear edge to my heart. The day was evening; we were two; Below, in the shadows, the Danube rustled. And on the hill, where, whitening, The ruin of the castle looks into the valley, You stood, young fairy, Leaning on mossy granite, Infant foot touching The wreckage of a pile of centuries; And the sun lingered, saying goodbye With the hill and the castle and you.

Literature

Blagoy D.D. The World as Beauty (About "Evening Lights" by A. Fet) // Fet A. A. Evening Lights. - M., 1981 (series "Literary monuments").
Bukhshtab B. Ya. A. A. Fet. Essay on life and creativity. - Ed. 2nd - L., 1990.
Lotman L. M. A. A. Fet // History of Russian literature. In 4 volumes. - Volume 3. - L .: Nauka, 1980.
Trubachev C. Fet, Afanasy Afanasevich // Russian biographical dictionary: in 25 volumes. - SPb.-M., 1896-1918.
Cheshikhin V. E. Shenshin, Afanasy Afanasyevich // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - St. Petersburg, 1890-1907.
Eikhenbaum B. M. Fet // Eikhenbaum B.M. About poetry. - L., 1969.

Editions

Tyutchev F.I. Complete collection of poems / Vst. Art. B. Ya. Bukhshtaba. - M.: Soviet writer, 1957. - 424 p. (Library of the poet. Large series)
Tyutchev F. I. Poems / Comp., article and note. V. V. Kozhinova. - M.: Sov. Russia, 1976. - 334 p. (Poetic Russia)
Tyutchev F.I. Complete collection of poems / Comp., prepared. text and notes. A. A. Nikolaev. - L.: Owls. writer, 1987. - 448 p. Circulation 100,000 copies. (Library of the poet. Large series. Third edition)
Tyutchev F.I. Complete collection of poems in two volumes. / Ed. and comment. P. Chulkova. - M.: Publishing Center "Terra", 1994. - 960 p.
22Fet A. A. Poems. Prose. Letters. - M. : Soviet Russia, 1988, p. 91

23Fet A. A. Poems, 1976, p. 220

24 Fet A. A. The smile of beauty: Selected lyrics and prose. - M .: School - Press, 1995, p. 285

25 Ibid., p. 110.

26 Fet A. A. Poems. Prose. Letters. - M .: Soviet Russia, 1988, p. 45.

27 Ibid., p. 94.

28Fet A. A. The smile of beauty: Selected lyrics and prose. - M .: School - Press, 1995, p. 260

29 Fet A. A. The smile of beauty: Selected lyrics and prose. - M .: School - Press, 1995, p. 268

30Fet A. A. Poems, 1976, p.203

The use of various methods for strengthening sonic expressiveness of poems.

Sound recording (instrumentation) - the technique of enhancing the figurativeness of the text by repeating stressed and unstressed syllables, vowels and consonants. The most common form of sound writing is poetic repetitions, which form a special construction of the text. This gives the text a kind of symmetry.

Sound recording is created in a variety of ways:

1. Alliteration- repetition of consonants.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is close, beats on the shore
Uncharmed black shuttle...
Alien to the pure charms of happiness,
Boat of languor, boat of worries
Threw the shore, beats with the storm,
The hall is looking for bright dreams ...
(K. Balmont)

V.V. Mayakovsky in the article “How to make poetry?” wrote about alliteration:

Alliteration must be dosed extremely carefully and, if possible, repetitions that do not protrude outwards. An example of clear alliteration in my Yesenin verse is the line: “Where is he, the ringing of bronze or granite edge ... I resort to alliteration for framing, for even greater emphasis on an important word for me

One of the types of alliteration is onomatopoeia.

German engines growl above:
We are the Fuhrer's obedient slaves,
We turn cities into coffins
We are death... You will be gone soon.
("Pulkovo Meridian" V. Inber)
The repetition of the sound "er" creates the illusion of the sound of a German aircraft engine, the terrible sound of bombardments.

2. Assonance- repetition of vowels. Sometimes an inaccurate rhyme is called assonance, in which the vowels coincide, but the consonants do not coincide (enormity - I remember; thirst - it's a pity). Assonance enhances the expressiveness of speech.

At our ears on top,
A little morning lit up the guns
And forests blue tops -
The French are right here.
I scored a charge in the cannon tight
And I thought: I will treat my friend! ..
("Borodino", M. Lermontov)
The repeated repetition of the sound "y" helped the poet convey the echo of the early morning; the rumble that spreads over the field before the battle.

Here is how Alexander Pushkin manages the same sound “u”:

Do I wander along the noisy streets,
I enter a crowded temple,
Am I sitting among the foolish youths,
I surrender to my dreams.
(A. Pushkin)
The assonance of the "y" sound is used to represent the rumble of a city street.

And here is an example of the use of assonance by K. Balmont.

I am a free wind, I always blow
I wave the waves, I caress the willows,
In the branches I sigh, sighing, dumb,
I cherish the grasses, I cherish the fields
(K. Balmont)

Repetition of vowels "o" and "e"

3. Punning rhymes- rhymes built on word play and sound similarity. They are often used for comic effect. In a punning rhyme, polysemantic words are used, as well as homonyms - when only sound identity is established between words, and there are no semantic associations.

You puppies! Follow me!
You will be on the kalach
Look, don't talk
I won't beat it.
(A. S. Pushkin)
He was careless for twenty years,
I did not give birth to a single line.
(D. D. Minaev)

4. Anaphora- a stylistic device consisting in the repetition of related sounds, words, syntactic or rhythmic constructions at the beginning of adjacent verses or stanzas.

Sound anaphora is a feature of alliterative verse, in which there should be an equal number of logically strong stressed words in certain places, but it is sometimes found in metrical verses built on the basis of meter.

Storm-blown bridges
A coffin from a blurry cemetery.
(A. Pushkin)

Lexical anaphora, repetition of the same words:

Wait for me and I will come back.
Just wait a lot
Wait for sadness
yellow rain,
Wait for the snow to come
Wait when it's hot
Wait when others are not expected
Forgetting yesterday.
Wait when from distant places
Letters will not come
Wait until you get bored
To all who are waiting together.
(K. Simonov)

Syntactic anaphora, (anaphoric parallelism) repetition of syntactic constructions:

I stand at the high doors
I follow your work.
(M. Svetlov)

Strophic anaphora, the repetition of words or syntactic constructions in adjacent stanzas: in the following example, the anaphoric word, although it is separated into a separate typographical line, but it forms the beginning of an iambic verse, which ends with the following line:

Earth!..
From snow moisture
She's still fresh.
She wanders by herself
And breathes like deja.
Earth!..
She runs, runs

5. Epiphora- a stylistic device consisting in the repetition of related sounds, words, syntactic or rhythmic constructions at the end of adjacent verses or stanzas.

Noisy, sparkling
and dragged to the distance,
and drove sorrows
and sang away...
(K. Balmont)

6. Onomatopoeia- words that imitate their own meaning. Such words are the words “Snoring”, “Crunch”, and derivative words “snoring”, “crunching”, etc.

And the crunch of sand, and the snoring of a horse
Frost-drenched puddles
crunchy and brittle like crystal
(I. Severyanin)

There are many other methods of sound writing: dissonance, joint, ring, etc. But the six named above are the most popular and more often used by Russian poets.

Sound writing is "the use of secondary sound signs of speech for expressing various emotions, additional meanings, etc. (Great Soviet Ents-I). In the poet's dictionary of A. P. Kvyatkovsky - sound writing is a conditional term for one of the types instrumentation of the verse, the cat having established the corresponding phonet of the composition of the phrase in the depicted picture. V. Kholshevnikov writes: "Apart from rhyme,
repeating regularly, sound repetitions within the verse now appear, then disappear, then they are barely caught, then they are heard very clearly. Therefore, when clearly audible repetitions occur after a series of "neutral" verses in relation to sound, the verse stands out noticeably.

Write with sounds.

Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
A storm is close, beats on the shore
Uncharmed black shuttle...
Alien to the pure charms of happiness,
Boat of languor, boat of worries
Threw the shore, beats with the storm,
The hall is looking for bright dreams ...
(K.Balmont)

Soundwriting is an artistic technique,
which consists in creating images by choosing words that
imitate the sounds of the real world (whistle of the wind, roar of the motor, etc.).

Sound recording is created in different ways:

1. Alliteration- repetition of identical or similar consonants. The poet's sense of proportion and the thin tact of the poet's choice, character and appropriateness of alliteration in verse; there are no rules for using it and cannot be. (“Pipes are blowing in Novegrad, banners are standing in Putivl ...- A word about Igor's regiment). Transfer of settings before the battle. Pushkin, Tyutchev, Derzhavin, Batyushkov.

2. Assonance- repetition of vowel sounds. For the expressiveness of speech.

(Lermontov: At our ears on the top of the head, a little morning lit up the cannons and forests of the blue tops ...) Repeat - to create the atmosphere of the morning.

3. pun rhyme- rhymes based on wordplay and sound similarity. To achieve a comical effect. Pushkin, Mayakovsky. Use of homonyms, polysemantic words.

Etc. - You puppies! Follow me!

Will you by kalach,

Look, don't talk

But not that I'll beat you.

(A. S. Pushkin)

He was twenty years old negligent,

single line without giving birth.

(D. D. Minaev)

4. Anaphora, epiphora

An epiphora is a repetition of the end of a verse. Anaphora - repetition of related sounds, words, synth repetition in the beginning of verses, stanzas.

A) Lexical anaphora - subsided,dejectedly blue sea,
subsided,depressed fast rivers,
subsided,depressed walking clouds,
The blessed queen reposed...
(Folk historical song "Death of Nastasya Romanovna")

It creates the effect of sadness, crying.

Syntax anaphora, (anaphoric parallelism) repetition syntax construct:

I am standing at high doors
I follow for your work.

(M. Svetlov)

strophic anaphora, repetition of words or syntax of constructions in adjacent stanzas: in the following example, the anaphoric word, although it is separated into a separate typographic line, but it forms the beginning of an iambic verse, which ends with the last line:

From snow moisture

She's still fresh.

She wanders by herself

And breathes like deja.

She runs, runs.

Epiphora - Noise whether, sparkle ali

and to d ali attracted whether,

and Mr ali oven ali,

and ne whether vd ali…

(K. Balmont)

5. Onopathomea- words, imitating their own meaning - snoring, crunching.

Frost-drenched puddles

They are crunchy and fragile, like crystal (Severyanin)

There are many other methods of sound writing: dissonance, joint, ring, etc. But the six named above are the most popular and more often used by Russian poets.

Sound repeats

They have a similar character to other repetitions (choruses, rhymes) and are directly related to our perception. The more you repeat, the greater the conviction.

In European verse, repetitions begin at the level alliterations (Celtic, Germanic tradition) - the repetition of the same close-sounding times. Alliteration - the principle is based on the consonance of sounds, more often consonant, repeating from line to line, but not regularly, without a system. Etc. in the "Song of Hilldebrand" the names of the kings are consonant (Heldebrand, Herebrand, etc.).

The Nibelungenlied contains the beginnings of rhyme.

Gertrude Stein wrote: "and a rose is a rose, there is a rose, there is a rose", or other translation: "... I am a rose like anything."

But in these alliterations there is not enough order (they either appear or not in any place), we are waiting for some kind of response, and therefore a rhyme appeared.

phonics

- the doctrine of the sound organization of the text, which is defined as the compliance of the text with the norms of euphony in general (for example, the text is checked for facts confluence of vowels or consonant clusters ), and the use by its author of sound repetitions ( alliteration , consonance and assonance ), as well as the facts of their semantization.

sound recording

it is a set of methods of phonetic organization of the text. In everyday speech, sounds are used arbitrarily, since the native speaker does not specifically think about which of them should be used. Meanwhile, many authors of works of art, especially poets, carry out a careful selection of sounds, guided by aesthetic objectives. The repetition of the same sounds may be necessary for the author as an additional means of rhythmizing speech. Therefore, among phonetic devices, first of all, sound repetitions are distinguished. These include alliteration, consonance and assonance.

Sometimes repetitions of sounds or their combinations have an exclusively ornamental function, i.e. decorate the text with the fact that they give it overall harmony. But sometimes they are associated in the author's text with a certain semantic meaning - and it is then that the phenomenon of sound writing arises:

Comes out Pe tr. His eyes
Shine. His face is terrible.
Movement bys tr s. He etc ek R asen.
He is like God gr oz.
Goes. A horse is brought to him.
Zealous and humble faithful horse.
Feeling the fatal fire
dr revived Eyes askance
And rushes into etc ahh combat,
Proud of the mighty rider.

In the poem "Poltava" A.S. Pushkin, by careful selection of words, forms the connection of sound repetitions with the visual image of Peter's actions. So, combinations of consonants in words bys- tr-s, etc-e- kr-asen, gr-ose, others- alive, in etc-ahe convey the energy and determination of the Russian Tsar.

The connection between the sound composition of speech and meaning is even more clearly manifested in cases where writers turn to paronomasia.

Polina Myagkova, German Kremer, Ekaterina Barankevich

Research work of students on the topic "Sound. Role in a literary text"

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sound recording

(research work)

As a home task, we were asked to find examples of sound writing in works of fiction. Determine what is the artistic meaning of using this technique in each example. Make a conclusion about the meaning of sound in the language of fiction.

Getting started, we decided to re-read those poetic works that we studied in literature lessons.

A.S. Pushkin "The Tale of the Dead Princess and the Seven Bogatyrs":

"But the princess is young and I ,

Quiet flowering and I ,

Meanwhile, growing a, growing a,

Raised a s - and blossomed a ...

The sound "a" is characterized as good, active, strong. The repetition of sound in this passage helps to feel the power of the young beauty of the princess.

“It is a pity to look, menacingly wails,

Randomly, the heart n e sie n o e,

It is obvious to say to her:

Bruh!...

In this passage, the repetition of the sound “o” conveys something dark, terrible, which should happen to the princess.

In o t they are in the grave of crystal

Tr u p the princess is young

Put - and the crowds oh

Carried to an empty mountain,

And in the floor at night p about ru

Coffin to six pillars

On the chains h y g y there

Caution about screwed

And they fenced off the decision ...

The combination of the sounds "o" and "y" conveys the sorrow and grief that befell the seven heroes. As if the sounds of a mournful funeral procession are heard, from which the heart aches.

A.S. Pushkin Poem "Winter Evening"

In their snowy slopes;

T o cry like a child,

The same combination of "o" and "y", and with them also "e" gives rise to a feeling of fear in the reader before the raging nature. The same fragment of the poem is a prime example of use and alliteration. The consonant sounds "b", "p", "v" convey the sounds of the elements that have played out, the noise of which is amplified by the hissing "sh", "h" and the whistling "z", "s"

I.Z Surikov “In the night»

… T o po t

In the field I distribute ts:

That abun horses at night

I carry you through the meadows

The sounds "t" and "ts" create the sounds of horses stomping.

F y r whip a horse at will,

Xp will up the branch, the bush - and again

Everything is silent in the field

The combination of the sounds "fr" and "xp" allow you to hear sounds suddenly heard in silence, and deaf consonants "t", "k". "s", "p" emphasize the silence of the night. This opposition is reinforced by the punctuation dash.

So, we came to the conclusion that sound can create an image; make it more expressive.

Material prepared

Myagkova Polina,

Kremer German,

Barankevich Ekaterina,

students 5 "A" class, 2010-2011 academic year

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Conclusion: sound can create an image; make it more expressive

this is an artistic technique that consists in creating images by choosing words that imitate the sounds of the real world (wind whistle, engine roar, etc.)

EXAMPLES

The storm does not cover the sky with darkness,

In their snowy slopes;

Then, like a beast, she howls,

T o cry like a child,

T o c o o n t e r e r e

In another with ol o mkoy for noise,

T about, like a traveler for apo from far,

To us in the window oshko it teaches ...

The same fragment of the poem is a prime example of the use of both assonance and alliteration. The combination of "o" and "y", and with them also "e" gives rise to a feeling of fear in the reader before the raging nature. The consonant sounds "b", "r", "v" convey the sounds of the elements that have played out, the noise of which is amplified by the hissing "sh", "h" and the whistling "z", "s".

There are four main methods of sound writing: repetition of sound, repetition of phonetically close sounds, opposition of phonetically contrasting sounds, different organization of sound sequences and intonational unities.

For sound recording purposes can be used:

A) repeat sound: " Voro n kark n st on sos n morning n st co nn th jet n at"(A. Blok); b) repetition of phonetically close sounds: “ W ur w it water by w am, and, h yelling, / On a chick h kah ska h no h izh"(B. Pasternak); c) opposition of phonetically contrasting sounds: “ AT ether in no and in furtively / Between in branches, above in ode inclined, / W e in spruce with heavy folds / W elko in green"(M. Voloshin); d) different organization of sequences of sounds and intonational unities: “ In July, in the heat, at midday, / On the loose sands, uphill, / With luggage and a family of nobles, / Four sobs, / Dragged"(I. Krylov).

Sound writing techniques can be canonized (generally accepted in this literature) or individual.

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What is sound writing in literature definition. sound recording

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